The best advice that can be given about the hymnbook (either British or American) is—use it! For so many of us it is largely an unknown book, for we rarely use more than twenty-five per cent of the hymns it contains. The remaining three parts of the book go unused, and our choice of hymns drives deeper and deeper into the ruts of our own preferences. Let this be a challenge to get out of the groove and broaden our knowledge of our own hymnbook, which, after all, stands next to the Bible in our public worship.
A representative collection of tunes is necessarily good in parts. We should be able to discern between the good and the bad, and we should cultivate a taste for the best. Why be content with poor-class goods when the best quality is available at no extra charge? Learn to recognize a good tune, and choose it in preference to one that is poor.
If a music leader really tackles the problem in earnest, he will begin with the first hymn in the book, and play steadily through the whole volume, trying over each tune that is unfamiliar and making a written note of those that appeal. Of course, this would not be attempted at one time, but spaced over several weeks, even months if necessary. Before the task is half completed, however, it would be realized that our hymnal contains a very balanced selection of hymns, and our respect for it would rise in proportion to our increasing acquaintance.
(I would request that before hurriedly reading what follows, you please get the Advent Hymnal or Church Hymnal music edition, and refer to the hymns that are mentioned.)
How can we tell the tunes that are good? The final arbiter is our ears, for a tune that does not please when it is played or sung is of little value, no matter how technically perfect it may be. But we can get some idea of its worth by studying it as it appears in the hymnal. Look, for instance, at "Standing on the Promises." A glance at its numerous quavers and semiquavers will suggest that it is jazzy; a prolonged look at its bass notes will reveal that it has no harmony worth speaking of. Take the first two lines, containing 37 separate bass notes-29 of these are B-flat and the remaining 8 are E-flat. What dull uniformity, what killing monotony! Look at it in print:
A child could pronounce the verdict—this is a -poor tune, very poor ! As a contrast, and not too-great a one, let us examine "Lead On, O King Eternal," tune "Lancashire," by Henry Smart, a blind organist Look at the bass again and observe that the first 7 notes, D-flat, are the same; but with the third bar, a healthy variety is introduced, yet kept in check so that the first half of the hymn has a subdued air. This is all for a purpose—the Composer is saving his energy. When he comes to the third line of music, he uses his reserve and with deliberate steps he strides toward his climax, the top E-flat, then sinks down to a deep repose in the last line. Note how his bass notes fly about the staff in that third line. There is no monotony here. Every note is different and full of interest to the eye, and even more to the ear. This is a good tune.
The Quality of Various Tunes
Now look at a simpler tune, used three times in our book, viz., "St. George" by Dr. H. J. Gauntlett. It accompanies the words "I Love Thy Kingdom, Lord." Study its melody, sense its rise and fall, note how it climbs to its height, then gently returns to its starting point. Note that only twice are consecutive notes the same. And do not stop at the melody. Try each of the other three parts and the same excellence will be discovered. The tenor is a grand tune in its own rights. The hymn can literally be turned inside out, upside down, and yet still preserve its beauty. Such a composition deserves our respect and our appreciation.
"Rockingham," arranged by Dr. E. Miller and used with four different sets of words (notably, "When I Survey"), is another of the immortals. Some claim it to be the best hymn tune ever written. Such a claim is almost impossible to verify, but all will agree that it is a grand tune. It has hardly two consecutive notes the same in any of its parts; yet what smoothness of melodic line, what dignity of expression, and what nobility of emotion it possesses!
Do you want life and vivacity in your hymns? Do not imagine for a moment that such qualities exist only in the ragtime tunes. Look at "Lyngham," "O for a Thousand Tongues." This is as lively as any could reasonably desire; yet at the same time it never offends the canons of good taste or good music.
Do you want touching melody? Try "Jesus, the Crucified," taken from Sir John Stainer's oratorio The Crucifixion. It is brimful with the poignant drama of Calvary.
Are you looking for the grand, the heroic? You will find these qualities in "Julian," by Pastor Joseph Harker. Note the octave strides with which it opens, and the declamation of the four C's at the beginning of the last line. They are a challenge to the heavens themselves!
Do you want martial effects to set youthful nerves agog? Then turn to "St. Gertrude," "Onward, Christian Soldiers!"
There is an octet of first-class hymns at the beginning of the young people's section. Listen to the aspiring "St. Theodolph." It climbs from the very outset, and truly states, "My heart exulting sings." Learn to enjoy the emphatic, almost military rhythm of "Te Laudant Omnia," obtained mostly from crotchets (there are only three quavers in the treble part). Compare this with the almost breathless rush of "Norfolk Park," which has quavers all over, with wide intervals between consecutive notes, yet withal a smooth melodic progression which is pleasing to the ear.
Among the children's hymns, "North Coates," "Jesus High in Glory," must take a very high place. It possesses a deceptive simplicity—deceptive in that few organists look beneath the surface of its simple notes and appreciate its classical beauty. On the preceding page comes "Celestial Voices," which is gentle, naïve, and very childlike.
In "Gladsome Days" we meet a very different tune. It is one of the most rhythmic in the book, and the means by which the rhythm is produced are not far to seek. It is written in 6/8 time, and, apart from the final bars, they all consist of crotchet-quaver, crotchet-quaver. This could prove very monotonous, but the melodic line rises and falls so smoothly that it does not become wearisome. However, it may be noted in passing that although the treble and bass are interesting, the tenor is rather weak.
Perhaps enough has been said to make us more aware of the quality of tunes; so let us spend a little time discussing their suitability. This calls for two steps:
1. A critical survey of the tune to answer the question, "Does it match the words?"
2. If the words and music do not match, use the Metrical Index to find a more suitable tune. By using this index, we shall get much better use out of our hymnbook, and will be acquainted with a greater variety of tunes. We shall also get to know the names of tunes—a useful acquisition—since it is difficult to discuss them unless we can name them correctly.
Another key to unlock further treasure chests of music is found in the composers' names. Some men have so consistently written good tunes that their names are hallmarks of quality.
The following composers are worth recognizing, and if their eras are also known, their music is better understood.
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William Croft |
1678-1727 |
William Monk |
1823-1889 |
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Samuel Webbe |
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1740-1816 |
Joseph Barnby |
1838-1896 |
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Henry Gauntlett |
1805-1875 |
John Stainer |
1840-1901 |
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Henry Smart |
1813-1879 |
Arthur Sullivan |
1842-1900 |
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John B. Dykes |
1823-1876 |
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To these we might add the names of our own composers. Pastor J. Harker here in England has written some fine hymns. He is responsible for over thirty tunes in our Advent Hymnal.
Consider Well the Words
It may seem strange that "Music in the Church" is incomplete without a reference to words; yet it is a fact that unless words were attached to most of our music, the church, as far as its music is concerned, would be little better than a concert hall.
The ideal organist will study the words of his hymns as sympathetically as he studies the music. To do this thoroughly he might take a musician's holiday and use a "Words Only" edition. This will permit him to appraise the words in a way that is not so easily done with his music book.
As an early exercise, we would suggest contrasting, "0 Everlasting Light," with its next-door neighbor, "Immortal, Invisible, God Only Wise." Place the positive brevities of the first against the antitheses of the second. Both are good, but oh, how different !
Why Some Hymns Are So Well Known
The best-known hymns have not acquired their fame by accident. Apart from a few easily recognized exceptions, they possess a quality which lies at the back of their universal popularity. Look at, "When I Survey the Wondrous Cross," "How Sweet the Name of Jesus Sounds," "Jesus, Lover of My Soul," and "Abide With Me.' It will be seen that their fame is justified.
Of "Come, O Thou Traveler Unknown," or "Wrestling Jacob," Isaac Watts, eminent English hymn writer, remarked that "it was worth all the verses he himself had written."
Such gems as these have been discovered for us, and we break no new ground by recognizing their merits. But hundreds of other hymns await our appreciation. Our taste may not always agree with that of our friends, but there is no reason why we should not be sure of our favorites.
One hymn whose words shine far above the average is "Dear Lord and Father of Mankind," by the American poet J. G. Whittier. "Drop Thy still dews of quietness," "The beauty of Thy peace," and "Thy coolness and Thy balm"—these phrases fall like the gentle dews from heaven, and when sung to that tranquil tune, "Rest," we. have a hymn of matchless beauty.
It is time for us to make acquaintance with the great Christian poets. From the list that follows, it will be seen that many of these lived, as did the church musicians, in the Victorian era, so let us be duly grateful to this much-maligned period of our history.
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Isaac Watts |
1674-1748 |
Henry F. Lyte |
1793-1847 |
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P. Doddridge |
1702-1751 |
C. F. Alexander |
1823-1895 |
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Charles Wesley |
1707-1788 |
William How |
1823-1897 |
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John Newton |
1725-1807 |
John Ellerton |
1826-1893 |
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J. Montgomery |
1771-1854 |
F. R. Havergal |
1836-1879 |
RANGE.—The two lists that have just been given (of composers and poets) may be justifiably criticized as being drawn from too narrow a circle, namely, almost entirely from the ranks of churchmen. This is admitted, but it should be realized that the purpose of the lists is to stimulate interest in sacred song, and to exalt commendable standards. It will also be understood that a list of ten names cannot do justice to the hundreds of others who have contributed to our hymnbook.
There is nothing to stop us from being broadminded in the choice of our hymns. We should know and use all types, while taking care that we make a suitable choice and use the best available words and music.
AWKWARD HYMNS.—Some hymns are too high, some are too low, some are too long, some are ponderous. Indeed, there are several factors which may render a hymn difficult to sing. Some of them may be obvious only in a small congregation, and may vanish before a large body of singers, but most of them can be vanquished by a well-equipped organist.
The pitch of some hymns makes them difficult to sing. Into this category fall those written in the key of G (one sharp), of which we might cite, "Eternal Light !" "Blest Are the Pure in Heart," "0 Jesus, I Have Promised." It is possible to lower the whole tune by a semitone and change the key signature from one sharp to six flats.
A more orthodox method would be to play it in the key of F (one flat) and thus lower the whole hymn by a full tone, bringing it comfortably within the range of restricted voices.
Some other hymns are manageable except for one or two very high notes. For example, "There's a Wideness" with its top F's ; "God of Our Fathers"; and "From Greenland's Icy Mountains," with their similar heights. The organist should keep his eyes open for such difficulties and be ready to help the congregation.
Some hymns are rather too long for ordinary use, and are likely to drag unless a good organist and a good congregation are behind them. Into this class we would put such as "I Hear Ten Thousand Voices Singing," "Who Is on the Lord's Side?" and "Forward ! Be Our Watchword." Yet each is a grand hymn. Two others that may be cited are, "I Thank Thee, Lord," and "Others," which have great length unredeemed by quality. If the instrumentalist is aware of such factors he can ease the situation considerably by vigorous playing.
Make Use of Unfamiliar Hymns
Prejudice plays a very large part in our choice of hymns. Most of us use only those that we know very well, and leave the greater part of the hymnbook severely alone. Let us abandon that narrow outlook. If we henceforth judge a hymn on its merits, and not on our limited knowledge, we shall then discover many beauties that we have hitherto passed by.
How little do we use the noble words of "And Didst Thou Love?" When were "Jesus, Full of All Compassion," and "0 Jesus! Thou Are Standing," last used? And so we could go on. Every dozen pages would reveal hymns that are not only unusual but unknown. Let us alter this picture through our study of our hymnbook.
OTHER HYMNBOOKS.—If we restrict ourselves to the Advent Hymnal or Church Hymnal alone we shall always be handicapped in our knowledge of hymns. The contents of these two hymnals are quite largely drawn from older volumes that have been tried by other communions and not found wanting. We shall be well repaid for time we spend with the music editions of the standard hymnals of other denominations. Some of these can be found in secondhand bookstores.
